Tomislav Pletenac, etnolog i muzikolog danas na odsjeku za etnologiju i kultrunu antropologiju Sveučilišta u Zagrebu. Glavni inetersi su mu antropologija žrtava, antroplogija genocida, psihoanalitička teorija, postkolonijalna teorija te fantastika u kulturi. Koautor je knjiga Fantastična bića Istre i Kvarnera te Zemlja iza šume. Dok je u prvoj riječ o društvenoj perspektivi fantastike u drugoj se autori bave balkanskim korijenima vampirskog mita u popularnoj književnosti i na filmu.

Anamorfoza etnografskog filma

Etnografski film uspostavio je određenu dvojnost svog karaktera. S jedne strane od njega se očekivalo da ponudi reprezentaciju kulture koja bi nadišla zamorni etnografski tekst te omogućila uvid u drugost onima koji nisu spremni na često mukotrpno probijanje kroz raznovrsne klasifikacije, tabele i detalje. Slika je u tom postupku trebala zamijenti tekst. Drugi put korištenja filmske tehnologije u etnografiji nudio je obećanje nove objektivnosti. Oko kamere nezainteresirano bilježi procese koji se kasnije mogu bezbroj puta reproducirati, a antropolog u svom «laboratoriju» neprekidno ponavlja sekvence, zamrzava kadrove i pretražuje materijal u potrazi za ključnim etnografskim detaljima. 
Danas niti jedno od navedenih obilježja nisu ispunila očekivanja. U samu proizvodnju etnografskog filma kao da je bio uključen višak koji je opterećivao dostup do realnosti kulturnih procesa. Filmski je kadar ostao tek okvir kojeg je iscrtavala ruka etnografa vizualizirajući time specifičan pogled na kulturu. Od alata za strojno bilježenje kulture kamera se pretvorila u aktivnog sudionika kulturne proizvodnje. Pa ipak filmska proizvodnja kulture, koliko god bila metaforom tehnološke nemoći, jednako je tako otvorila prostor novom promišljanju kulture. S jedne strane neuspjeh filmskog pogleda počeo je razvijati drugi pol etnografskog postupka, onaj etnografskog sudjelovanja, a s druge interes za polje vidljivog. U ovom predavanju biti će riječi o ovom drugom polju etnografskog interesa koji je do sada čini mi se bio premalo istražen - kulturi kao anamorfozi, kvaliteti koja ju smješta uz bok dvama konceptima psihoanalize, nesvjesnom i seksualnosti.

Tomislav Pletenac is an ethnologist and musicologist, at the Department of Ethnology and Cultural Anthropology, University of Zagreb. His main scientific interests are anthropology of victims, anthropology of genocide, psychoanalytic theory, postcolonial theory and fiction in culture. He’s a co-author of the book “The fantastic creatures of Istria and Kvarner” and “Earth behind the forest”. First is about the social perspective of fiction and the other one is dealing with Balkan roots of the vampire myth in popular literature and film.

Anamorfismo of ethnographic film

Ethnographic film has established a certain duality of his character. On the one hand he was expected to offer a representation of a culture that transcended tedious ethnographic text and allow access to those who are not willing to frequently wade through a variety of classifications, tables and details. The picture in these proceedings should replace the text. Another way of using film technology in ethnography offered the promise of a new objectivity. The eye of the camera uninterestedly captures processes that can later be reproduced countless times, and anthropologists in his “laboratory” constantly repeats sequences, freezes the frames and browse the material in search of key ethnographic detail. Today, none of these characteristics has met the expectations. The actual production of ethnographic film as it was seemed to have an excess that has been weighing on access to the reality of cultural processes. The film remained just a frame drawn by ethnographers’ hand while visualizing time-specific view of the culture. From a tool for automatic recording of culture, camera turned into active participants in cultural production.
Yet the film production of culture, no matter how much it presented the metaphor of powerlessness of the technology, it has also opened up new perception of culture. On one hand, the failure of the film view began to develop another half of an ethnographic procedure, the ethnographic participation, and on the other hand, an interest in the field of visible. In this lecture the second field of ethnographic interest will be discussed, one that so far it seems to me was too little researched - culture as anamorphosis, the quality that places it side by side the two concepts of psychoanalysis, unconscious and sexuality.​